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PRESENTING OREGON: FORMATIVE FORCES OF THE OREGON UNIT OF THE FEDERAL THEATRE PROJECT by DAMOND G. MORRIS A DISSERTATION Presented to the Department of Theater Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2013 DISSERTATION APPROVAL PAGE Student: Damond G. Morris Title: Presenting Oregon: Formative Forces of the Oregon Unit of the Federal Theatre Project This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theater Arts by: Theresa J. May Chairperson John B. Schmor Member Louise Westling Member Ted Toadvine Outside Member and Kimberly Andrews Espy Vice President for Research and Innovation Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2013 ii © 2013 Damond G. Morris iii DISSERTATION ABSTRACT Damond G. Morris Doctor of Philosophy Department of Theater Arts June 2013 Title: Presenting Oregon: Formative Forces of the Oregon Unit of the Federal Theatre Project During the Great Depression President Roosevelt’s New Deal brought relief to Americans through the Works Progress Administration (WPA). The Federal Theatre Project (FTP) was formed in 1935 under the WPA to lift spirits, educate, entertain, and put unemployed theatre artists to work. The FTP was national in scope, but administered at the state level. In the State of Oregon, former Portland Civic Theatre director, Bess Whitcomb, pulled together theatre professionals qualified for work relief to form the Oregon Unit. Ironically, the first productions of the Oregon Unit were not examples of Whitcomb’s legitimate theatre work with the Portland Civic, but an expedient recouping of older forms. Vaudevillians were the first unemployed actors hired by the Oregon Unit because they qualified for relief and were ready to place their talents in front of an audience. This study historicizes the productions of the Oregon Unit of the Federal Theatre Project from 1936 to 1939 and examines the way its leadership negotiated with three forces existing in Portland and the Pacific Northwest. The forces include: the tradition of vaudeville, made up of unemployed professionals; the Little Theatre movement, through Bess Whitcomb’s relationship with the Portland Civic Theatre; and finally, the government, at the state and federal level, which used the Oregon Unit as a mechanism of propaganda, to produce regionally based theatre which promoted the iv agenda of the New Deal while representing Oregon to Oregonians. Whitcomb negotiated through these forces to create a wildly popular vaudeville-based performance group. The vaudeville nature of the troupe conflicted with a need on the part of the FTP nationally to present “legitimate” scripted performances. The need to produce legitimate theatre brought Whitcomb to transform the Oregon Unit and start a “rehabilitation” program for the vaudevillians, effectively purging the vaudeville performance style. The legitimate mission placed Whitcomb in the middle of negotiations to create a WPA Art Center in Portland. This study places Whitcomb’s negotiation in context of the Great Depression, and calls for a re-centering of her position as a theatrical pioneer in Portland, Oregon. v CURRICULUM VITAE NAME OF AUTHOR: Damond G. Morris GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, Oregon Western Washington University, Bellingham, Washington Skagit Valley College, Mount Vernon, Washington DEGREES AWARDED: Doctor of Philosophy, Theatre Arts, 2013, University of Oregon Master of Arts, Theatre Arts, 2008, Western Washington University Bachelor of Arts, Theatre Arts, 1992, Western Washington University Associate of Arts, Theatre Arts, 1989, Skagit Valley College AREAS OF SPECIAL INTEREST: Theatre History Eco-critical Theory Intersections of Theatre Arts and the Environment Sustainable Practice in Theatre Arts Directing Actor training PROFESSIONAL EXPERIENCE: Technical Director, Western Washington University, 2005-06 Introduction to Stagecraft Advanced Puppetry Adjunct instructor, Skagit Valley College, 2006-08 Playing Shakespeare Acting I and II Introduction to Dramatic Literature Introduction to Directing Technical Director, Seattle University, 1999-2004 Introduction to Stagecraft Artistic Director, Shakespeare NorthWest, 2006-08 vi Producer, Western Washington Shakespeare Festival, 2001-‘04 GRANTS, AWARDS, AND HONORS: Outstanding Journal Article, Willamette Valley Voices, 2013 Certificate of Merit- Directing, Awake and Sing! , KC/ACTF 2012 Glen Starlin Research Fellowship, University of Oregon, 2011, 2012 Marks Family Scholarship, University of Oregon, 2009 – 2012 Miller Fund Travel Grant, University of Oregon, 2010, 2011 Alumni Gift Fund Scholarship, University of Oregon, 2011 PUBLICATIONS: Damond Morris. “Mount Angel’s Flax Harvest Festival and the WPA: Weaving Vaudeville into the Fabric of the Willamette Valley.” 2013. Willamette Valley Voices. vol. II, February. Damond Morris. “Power and Columbia River politics, The theatrical production of the Living Newspaper Power by the Oregon Unit of the Federal Theatre Project.” 2013. Willamette Valley Voices. vol. III, Fall. vii ACKNOWLEDGMENTS I am grateful for the guidance of my dissertation committee, Professors John Schmor, Molly Westling and Ted Toadvine. It is with deep appreciation that I thank the head of my committee, Dr. Theresa May, whose guidance and focus during personally hard times allowed me to find my argument and, “Just say it!” I came to the University of Oregon to study with Dr. May, and I look forward to working with her as a colleague. I would also like to acknowledge Sara Freeman, who helped ignite the dissertation topic and my love of theatre history. I extend appreciation to the professors who guided me through the Oregon Leadership in Sustainability Masters Certificate: Vicki Elmer, Robert Young, Brook Muller, Peter Walker and Brendan Bohanan. I thank the Theatre Arts Office Manager, May-Britt Jeremiah, who was always there to help. I would like to express gratitude to Andy Friedlander, who gave me the opportunity to begin this theatre journey. The archival work for this writing would not have been possible without the help of University of Oregon Library Microforms Coordinator, Tamera Vidos, the staff at the Oregon Historical Society and Willamette Heritage Center, Timberline Lodge historian Sarah Munro and my sister, Lynelle Brode who trudged through the National Archives in Washington, D.C. for her brother. I would also like to thank editor Brian Cook who asked many hard questions and helped open up the idea of “negotiation.” This document would simply not be possible without the support and love of my wife, Laura. She has always supported my crazy endeavors, from the Shakespeare Festival to a PhD, with love and understanding. It was a difficult five years. I love you so much! I would also like to thank my daughter, Zinnia, who was always ready to give her papa a hug when he needed it most… thank you, Pooka. viii For Bess ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION ................................................................................................. 1 Notes ...................................................................................................................... 15 II. SLOPING WEST TO THE BARD: HOW VAUDEVILLE SHAPED THE NASCENT OREGON UNIT OF THE FTP .......................................................... 17 The Common Values of Vaudeville and the Oregon Unit ..................................... 21 Ernest Carrier: Working Class Aesthetics ............................................................. 29 Values of the FTP Reinscribe Ethnicity in the City of Portland ............................ 31 Night Beat: An Unemployed Working Class Story ............................................... 36 Sloping West: A Play with Regional Values .......................................................... 41 Into the Parks: Shrew Serves the East Side ............................................................ 47 Notes ...................................................................................................................... 55 III. THE MAKING OF THE MODEL UNIT .............................................................. 59 Merging Little Theatre Amateurs with Professional Vaudevillians ...................... 60 National Attention Transforms Vaudevillians ....................................................... 71 “Rehabilitation” Through Children’s Theatre ....................................................... 75 An Art Center Stumbling Block ............................................................................ 78 The Elks Temple Theatre: A Legitimate Step to the Art Center ........................... 81 The Art Center Agreement Moves Forward .......................................................... 84 The Grass Roots Theatre and the FTP ................................................................... 87 Notes ...................................................................................................................... 90 x Chapter Page IV. COOPERATIVE FARMING TO ANTI-UNION RHETORIC: WHITCOMB’S LEFT TO RIGHT NEGOTIATION OF THE OREGON UNIT ........................... 94 The Yellow Harvest: Cooperative Propaganda ...................................................... 98 Tapestry in Linen: Changing from Propaganda to WPA History .........................
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